arts almost completely. The conception of a strict naturalism placed at the service of humanitarian and social ideals, dominated by the idol People, a conception that also characterized the notable and prophetic “<g>Association des expositions ambulantes</g>”, was also his. Moreover, Stassov, the voluble and prolix critic who composed for the great Moussorgsky the monstrously confused text of “Khovanshchina”, turned Antokolsky’s mind toward Russian history. And thus, through his bronze and marble sculptures, Antokolsky became the historical illustrator and portraitist of Russia. He wrought Ivan the Terrible, Nestor the Annalist, Peter the Great, and even Ermak the Cossack, conqueror of Siberia. With keen psychological sense he also composed the likenesses of heroes and martyrs of free thought: a dying Socrates, a Spinoza and a Christ insulted, the latter work being conceived in the spirit of Strauss and Renan. All these monumental figures which greatly stirred his contemporaries no longer show any signs of life. There remains the personality of Antokolsky, which was in every respect a pure one. Not without reason did this poor and pertinacious young Jew, who hardly knew how to write Russian, become the idol and the oracle of two generations. We see but too clearly today that he travelled the wrong road. But he had faith. His artistic convictions were unalterable, unselfish, absolute,--those of a fanatic. More than that--a thing seldom to be found--, this fanatic was kindness itself. Antokolsky, then, on being consulted made much of the misfortunes and bitter disappointments that one embarking upon an artistic career must expect. But he was not unwilling to look Leon’s drawings over. Pestered by the youngster, his father sent several sketches to Paris. Lo and behold! when the reply, so anxiously awaited by the boy, arrived, it was favorable, decisive, almost intoxicating. The master had found the drawings quite well done and advised the boy’s going to the Academy of Fine Arts, on condition, however, that he pursue his general education. Thus Leon, the intractable and mediocre schoolboy of the day before, was to become a painter, a chosen and quasi-legendary being. He was then sixteen years of age. THE TWO SPHINXES Leon, then, presented himself for examination but failed. Before being admitted to another test he had for a year to practice drawing from models; and only after he had solved the mysteries of this form of academic discipline, was he admitted. For another year he kept abreast of both his artistic studies and his general secondary education; soon, however, he neglected school and, after a few feeble attempts, gave it up altogether. Let us state the fact without bitterness: Bakst never received the Bachelor’s degree.